Sternberg's Maxims, Dietrich's Face: Distinguishing Cinematographical from Photographical Lighting

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dc.contributor.authorCameron, Evan Wm.
dc.date.accessioned2019-03-15T15:30:20Z
dc.date.available2019-03-15T15:30:20Z
dc.date.issued1976
dc.description.abstractHow does cinematographical lighting differ from photographical lighting? Josef Sternberg amplified the answer when lighting the face of Marlene Dietrich within the six movies that he made with her between 1929 and 1935. By registering in historical context what he did, we can learn much of how differently we see things by means of movies versus photographs.en_US
dc.identifier.urihttp://hdl.handle.net/10315/35981
dc.language.isoenen_US
dc.rightsAttribution-NonCommercial-ShareAlike 2.5 Canada*
dc.rights.urihttp://creativecommons.org/licenses/by-nc-sa/2.5/ca/*
dc.subjectBogdanovich, Peteren_US
dc.subjectCinematographyen_US
dc.subjectDietrich, Marleneen_US
dc.subjectDirectingen_US
dc.subjectEastman, Georgeen_US
dc.subjectEastman Kodak Companyen_US
dc.subjectFilmmakingen_US
dc.subjectFilmmaking, Documentaryen_US
dc.subjectLighten_US
dc.subjectLightingen_US
dc.subjectPhotographyen_US
dc.subjectSeeingen_US
dc.subjectSeeing Moviesen_US
dc.subjectSternberg, Josefen_US
dc.subjectStroheim, Ericen_US
dc.subjectCameron, Evanen_US
dc.titleSternberg's Maxims, Dietrich's Face: Distinguishing Cinematographical from Photographical Lightingen_US
dc.typePresentationen_US

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Screenwriting, 1905-1930B Uncoupling Movies from Paintings & Photographs

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